THE

FINZI BOOK ROOM

READING UNIVERSITY LIBRARY PUBLICATIONS 4

THE FINZI BOOK ROOM AT THE

UNIVERSITY OF READING

THE

FINZI BOOK ROOM

AT THE

UNIVERSITY OF READING

A CATALOGUE

by

Pauline Dingley

Introduction by Adrian Caesar

THE LIBRARY

UN IVERSITY OF READING

198 1

The library

University of Reading

Whiteknlghts

Reading

© 1981 The Library, University of Reading

ISBN 0 7049 0492 6

Designed by the Libanus Press. Marlborough, Willshire

Printed in Great Britain by

Sherwood Printers (Mansfield) Limited, Ncttingharnshirc

CONTENTS

INTRODUCTION BY ADRIAN CAESAR, vii

THE A R RAN GEM E NT 0 F THE CAT A LOG U E, xxi

ACK NOWLEDGE ME NTS, xxi

CATALOGUE

GENERAL HISTORIES AND STUDIES, I

GENERAL ANTHOLOGIES, 7

THE ANGLO-SAXON AND MIDDLE ENGLISH PERIOD (to 1500)

Histories and studies, 15 Anthologies, 15

Individual authors, 17

THE RENAISSANCE TO THE RESTORATION (1500 - 1660)

Histories and studies, 19 Anthologies, 20 Individual authors, 22

THE RESTORATION TO THE ROMANTICS (1660 - 1800)

Histories and studies, 37 Anthologies, 38 Individual authors, 39

THE NINETEENTH CENTURY (1800 - 1900)

Histories and studies, 51

Anthologies, 51 Individual authors, 52

THE TWENTIETH CENTURY (1900 - )

Histories and studies, 77 Anthologies, 77 Individual authors, 79

TRANSLATrONS, 113

IN DEX 0F POE TS,J25

INTRODUCTION

GERALDFINZIwas born on the 14th July 1901 the fifth and last born child of a city business-

man. By all accounts his arrival into an already crowded nursery was not greeted with

enthusiasm. Those who could have been his first companions and friends, his sister and brothers,

were strangers to him from the first. Feeling increasingly isolated he turned to a private world of

books and music. He was the onJy child with musical talent and fortu-nately bis mother

encouraged this, allowing him as a small child to come down from the nursery and listen to her

playing the piano, something which she did with accomplisbment although only an amateur.

Later, despite the familial difficulties caused by her husband's premature death, Finzi's mother

continued to foster and support her son's musical ambi-tions, something for which he was always

deeply grateful. It was in this atmosphere where music was played and books were available to be read,

that Gerald Finzi conceived the desire which was to regulate all his future activity: he would be a

composer. The will to create was developed early due at least in part to the lack of

communication the child felt with the rest of his family. It was perhaps this early introversion that

also caused his first experience of school to be so painful. At prep-school in Camberley he

remained in the same form for four years and then took the imaginative and somewhat audacious

step of feigning swooning fits in order to avoid continuing at school. After a year spent in

Switzerland with a tutor, Finzi returned to England and continued his musical education

privately. He studied composition with Ernest Farrar whose death in the Great War was to be a

deep shock to his young pupil. Indeed this event made such a mark on Finzi's consciousness that

he could still recall it with considerable bitterness and melancholy some thirty-five years later.

Nothing though, could deflect Finzi from his course. He continued his musical studies under Sir

Edward Bairstow in York until 1922, when he moved to Painswick in Gloucestershire. A few

years later hc undertook a final course of study with Dr. R. O. Morris in London. It was during

his time with Bairstow that Finzi first encountered the music of Ivor Gurney, who had by then

succumbed to the paranoid-schizophrenia which was to confine him in a mental hospital for the

rest of his life. It was Gurney's song Sleep that struck Finzi tben and ever afterwards as a work of genius, prompting a commitment to Gurney's work and the furthering of his reputation. In 1925

Finzi began to involve Gurney's friend and bene-factor Marion Scott in the projected publication

of Gurney's work. It is a measure of the perseverance this self-appointed task required, that it was

not until 1937 that the plans were brought to fruition when the Oxford University Press published

twenty of Gurney's songs in two volumes. The intervening years had thrown all manner of

difficulties in the path of the project, not least those raised by both Marion Scott and the Gurney

family, but with thc help of several people, particularly Howard Ferguson, Vaughan Williams,

and Joy, Finzi's wife, the work was finally completed.

Such activity on behalf of Gurney was typical of Finzi's concern for neglected talent.

Several cighteemh century composers who had faJlen into neglect attracted his auention, and in

particular the works of William Boyce and John Stanley were to benefit from Finzi's scholarly

editing. Typically too, the work on Gurney did not stop in 1937. Four years later Finzi began on

a third book of Gurney's songs which, despite the interruptions of war, was eventually published

in 1952. In 1954 a volume of poems appeared with an introduction by Edmund Blunden, and

after Finzi's death, largely due to the efforts of his

vii

wife, a fourth volume of songs was published. Gerald Finzi's marriage in 1933 was a felicitous event in every way. Christopher Finzi

(the composer's elder son) records that his father was of the opinion that marriage saved him

from a nervous breakdown, doing much to alleviate the introspective solitude from which he

had suITered for so long. The Finzis soon left London for the country, settling in 1939 in

Ashmansworth on the Hampshire downs. Here was the tranquillity, the lack of distraction,

which Finzi so needed in order to work. For a man of his enormous nervous and intellectual

energies London had provided an excess of stimulation and, as with his friend Vaughan

Williams, quiet and concentration were absolutely essential to Finzi's compositional method.

Apart from the war years spent in the Ministry of War Transport, Finzi remained in the country,

working on, surrounded by all the comforts of a devoted family.

It was at the beginning of the Second War that Finzi founded the Newbury String Players,

a small, mainly amateur orchestra who still perform. In the gloomy winter of 1940 Joy Finzi felt

thut some music performed in the lillie Ashmansworth church would prove enlivening. Her

husband responded by suggesting that if she could find the musicians he would conduct them.

On the outbreak of war many professional players had moved into the country making the task

easier than it might otherwise have been, and the first concert was given that Christmas.

Although by inclination one who disliked public appear-anccs, Finzi was to find that

involvement with this orchestra was to become an important feature of his Life. The war

accentuated the significance of such musical activities not only for Finzi and his wife, but for all

those involved, and for the audiences who gratefully heard the eight or so concerts which were

given each year throughout the surrounding countryside.

Finzi's job at the Ministry was uncongenial and extremely fatiguing, but at the weekend

the escape to Ashmansworth and rehearsals or performances with the orchestra provided a

welcome return to all that he loved. There was lillie time or energy to spare for composition but

Finzi used what time he had in editing eighteenth century composers for performance. Reading

too, and in particular, poetry remained a central part of his life. Indeed it was in his lunch-breaks

in London spent touring second-hand book shops, thut Finzi acquired many of his books. lie

took a great delight in filling the gaps in his collection, and it was particularly the earlier periods

which were enriched by purchases made at this lime.

Finzi did not read poetry merely to search for suitable pieces which could be set as songs.

He had a deep love of poetry for its own sake and his interest could almost be described as

scholarly but for the unfortunately dispassionate connotations which that word has now accrued.

It has been remarked by more than one commentator that in Gerald Finzi's songs we have an

expression of the composer's profound response to poetry. in-dicative of Finzi's altitude towards

song-selling is the wide range or poetry he used. Some of this was written by poets firmly

established in the English pantheon like Shakespeare, Milton, Crashaw, Vaughan, Wordsworth

and Jlardy, whilst other poets read mostly by professional scholars such as William Austin and

the seventeenth century American poet Edward Taylor (a discovery of the 1930,) also auracted

his attention. It should be noticed that Finzi was not confined to any particular period in his

choice of material; he had the ability to set poems from both the Renaissance and his OWI1 day,

with an equal understanding, inspiration and success.

His most audacious piece is perhaps the Cantata setting what is arguably Words-worth's

greatest shorter poem Ode: Intimations of lmmortalit yfrom Recollections of Early Childhood.

Wordsworth and his period had not attracted many composers, but his ideas stimulated Finzi

and writing to Howard Ferguson in 1936 when work on the Ode had

VIII

already begun, anticipating his critics, he defiantly expressed his opinions as to the choice of his

material and the relationship between words and music:

I do hate the bilge and bunkum etc. about composers trying to 'add' to a poem; that a

finepoem is complete in itself and to set it is only to gild the lily and so on. It's the sort

of cliche which goes on being repeated .... I rather expected it (over the selling of the two Milton sonnets) and expect it still morc when the Intimations is finished. Obviously a poem may be unsatisfactory in itself for selling but that is a purely musical consider-ation - that it has no orchestral possibilities, no broad vowels where climaxes should be and so on. But the first and last thing is that a composer is (presumably) moved by a poem and wishes to identify himself with it and share it. Whether he is moved by a good poem or a bad poem is beside the question. _.. I don't think everyone realises the differences between choosing a text and being chosen by one,

Not all of Finzi's music though was written for voices. About a third of his work is

instrumental, the largest pieces of this kind being the Concertos for Cello and Clarinet. The song-

settings however remain his most notable achievement, and apart from het larger scale works like

Intimations and the equally beautiful Dies Natalis (with words taken from the poetry and prose of

Traherne), it is to Thomas Hardy that we must look to lind the poet whose oeuvre 'chose' Finzi

most consistently and with the most brilliant results. Finzi set about fifty of Hardy's poems with a

success again surprising because of the seeming difficulties of the task. Hardy often wrote in

forms that were, or closely resembled, the balladic, and to this extent his work might seem a

comfortable choice, but Finzi did not restrict his selection of poems to those which are metrically

more simple and texturally less dcnse. Poems such as Channel Firing or Af a Lunar Eclipse arc

highly sophisticated, and to one unfamiliar with Finzi's settings they look unlikely to be

successful as songs. It is in such pieces that we most easily recognise Finzi's sensitivity to diction

and metre. Always tactful he leaves a listener more familiar with poetry than music delighted and

surprised, as Hardy's inventive stanza forms, often crabbed diction and deliberately harsh sounds,

arc set with no loss to these verbal effects.

Given Finzi's affinity with Hardy it is barely surprising that certain critical comments about the former's work echo earlier remarks about that of the latter, The charge of 'pessimism'

was applied to both and just as this is a partial and ultimately inadequate description of Hardy's

altitude to life so too with Finzi. Certainly beneath a personality which exuded great nervous and

intellectual energy, redolent of a zest for life, there lay a brooding melancholy, but this was never

allowed to degenerate into that totally negative

state of mind described by 'pessimism'. Rather Finzi shared Hardy's stated position

as a meliorist. As in Hardy's poctry so in Finzi's music, we find a tension between a

tragic vision and 'the invincible instinct towards self-delight'.

J have dwell on the life and work of Gerald Finzi because inevitably any private Library such as that described in this catalogue is circumscribed by the particular interests

of the collector himself. This personal aspect constitutes both the strengths and weak-

nesses of the collection, as the predictable and comprehensive gives way to the idiosyn-cratic

and necessarily selective. This is not to say that the volumes catalogued here are all unusual in

some way but that as a whole the collection represents a particular taste and personality.

TIfE LIlJRARY is a collection of English Literature of every period and whilst the bulk of the

books ace devoted 10 poetry, the works of many dramatists, novelists and essayists are also to be

found here. Indeed the most striking feature of the collection is its catbolicity, its breadth of

interest and its devotion not only ot those major authors whose work too often and too readily

constitutes a reader's experience of our literay tradition. We have

ix

already noticed that Finzi set 'mmor' poets and worked assiduously to promote the works of

Jesser known composers. His belief was in talented expression of personality whether found in

works of obvious stature or in those of less gifted figures, and with respect to his contemporaries

or near contemporarie-s, this belief assumed the status of a moral imperative. He fell very

deeply that it was his duty to support poets by reading and buying their work for he intuitively

understood the impecuniousness which constricts many artists, and was always aware of and

grateful for the small private income which made his own work possible. Hence we find in the

collection an enormous number of twentieth century poets who are very lillie known and whose

work varies considerably in kind and quality, yet together constitutes an invaluable guide to the

literary history of the time.

It is difficult to over-estimate the importance of minor poetry and it is one of the strengths

of Finzi's collection that it is so rich in such material. Without minor poetry there can be no

living tradition, and no conception of the literary history of any period may be gained without

engaging with it. Here is not the place for an extended discussion, but I am anxious to make

these points, for an appreciation of minor poetry is vital to an understanding of the importance

and value of the books catalogued here. So often the educated reading public turns away from

poetry and reads 'minor' novelists for relaxation, content to acknowledge the great poets whom

they have encountered at school or university, but ignoring the lesser figures through mistaken

notions that such work is dull or inferior and has little to offer. To spend an hour or two

browsing in a library such as the Finzi Book Room might well dispel, or at least modify, some

such notions. The books are arranged chronologically in botb the library and the catalogue, and in

making some introductory remarks about the volumes from each period, I hope it will be

understood that often I do not dwell on the standard editions of major authors preferring to

concentrate on those works which are more unusual and therefore emphasise the special

contours of the collection. The Old and Middle-English section of the library whilst understandably being the

smallest nevertheless contains a highly representative selection of prose, poetry, and drama from

the fourteenth and fifteenth centuries, several of the editions are the first modern printings, and

many are definitive texts published by the Early English Text Society. Anthologies represent all

the different poetic genres of the period; verse romances, allitera-tive poetry, and the more self-

consciously 'literary' followers of Chaucer, are all present. There arc anthologies of lyrics like

those of the 'Harley Manuscript' (no. 2253, cd. G. L. Brook, Manchester 1948), or the minor

poems of the 'Vernon Manuscript' (part one ed. C. Horstmann, part two cd. F. J. Furnivall,

E.E.T.S. 1892-1901),and perhaps most interest-ing of all arc the collections of hymns and

popular poetry which reflect a particular interest of Finzi's, doubtless through their connection

with music. Amongst the most impressive of these is the twenty-eight volume collection of

Early Engiisi: poetry, Ballads, and Popular Literature, published by the Percy Society from

184010 1849, whilst Rymes of the Minstrels, taken from a fifteenth century manuscript and

published in a limited edition in 1927, and Ancient Popular Poetry edited by J. Ritson published

in a limited edition in 1884, are two of the more unusual anthologies. F. J. Furnivall's edition of

Hymns to the Virgin and Christ taken from the 'Lambeth Manuscript' (E.E.T.S. 1867), and

Charles Kennedy's translations of Early English Christian Poetry (Hollis and Carter 1952)

represent the earliest divine hymns and meditations.

Of the individual authors represented Chaucer is, of course, the central figure. The

harsher more sombre poetry of his contemporaries Gower and Langland is also to be found; the

works of Gower in the E.E.T.S. edition of 1890-1 edited by Macaulay, and Langland's Piers

plowman edited by T. Wright (2nd edition 1887). Amongst the poets slightly later than Chaucer

we have works by Lydgate, Hoccleve's works, Hawes' Pastime of Pleasure

x

and the English poems of Charles, Due d'Orleans. Lydgate and Hawes were imitators of Chaucer; both were

courtly poets who used rhyme-royal to express ideas and ideals of scholasticism and chivalry inherited from

the earlier middle ages. Hoccleve is a valuable poet though judged to have less range than Lydgate. Many

passages of his poetry are heavily au tobiogra phical , and whilst these are sometimes embarrassing, they

do give us a vivid image of the London of his day. Charles, Due d'Orleans wrote ballads and roundels

in a personal and courtly manner. In their use of refrain and their tonal variations these

sometimes suggest a pre-figuring of the more accomplished Elizabethan songs.

Much of the most vigorous poetry of the fifteenth and early sixteenth centuries was

written in Scotland and is strongly represented. There are two sets of Henryson's works as well as an individual edition of The Testament of Cresseid (Faber 1943), whilst the edition of

Dunbar's work is that edited by Mackenzie and published by the Porpoise Press in 1932. Gavin Douglas,

whose translation of the Aeneid so impressed Pound, is represen-ted in an anthology of Scots mediaeval

poetry. The work of these three, though drawing on Chaucer to some extent, has a variety of language and

metre, a harsher, more muscular sound, which distinguishes it from the English poets' work. We should not

forget too that these poets had a fine precursor in their own language, John Barbour, whose four-teenth

century poem The Bruce is said to 'mark a decisive moment for Scottish literature being the first great

poem which had a distinctively national theme and flavour'. The E.E.T.S. edition edited by Skeat and

published 1870-89 is in the Finzi collection.

Though there arc not so many volumes of prose and drama from this period the holdings are by no

means negligible. Again there arc anthologies which deal with both areas, and several authors are

represented together with one or two anonymous plays. Malory's Morte D'Arthur, the most well-known

prose piece of the fifteenth century, is in some ways less interesting than Tile Voiage and Travayle of

Syr John Moundeville, Knight (Dent 1928), or Tile Booke of Thenseygnemeutes and Techynge by

Geoffrey de la Tour (cd. Rawlings, Newnes 1902). Apart from such imaginative works we have those of

great historical and sociological interest notably the Poston Letters 1422-1509 (cd. Gairdner, Constable

1900- I) and an autobiography dictated (as far as scholars are able to tell) by the illiterate mystic Margery

Kempe.

In moving to the Renaissance section of the library we find a similarly impressive range of books

which, if by no means comprehensive in every area of writing, is impressively so with respect to poetry.

From the poets of the 'drab' style with its metrical aberrations through the 'Golden-age' of the sonneteers to

the meta physicals and Caroline poets, we have an invariably rich selection. Many of these books are the

first modern printings pro-duced in the nineteenth century by dedicated scholars (I think particularly of

Grosart) and published for private circulation in small limited editions. There were several series of

such publications, the 'Chcrtscy Worthies Library' and 'Fuller Worthies' being two of the

most prominent. The works of Sir John Beaumont, Nicholas Breton, Joseph Fletcher,

Thomas Wash bourne and Francis Quarles may be found in these editions in the Finzi Book Room.

Though many of these texts are now recognised to be corrupt, the volumes with their handsome bindings,

heavy paper and attractive type remain of great histoi ic, aesthetic and bibliographical interest.

It will be observed that of the work represented in the 'Chertsey' or 'Fuller' editions, neither Breton's nor Southwell's poetry falls comfortably into any precise descriptive

category. Breton is, as C. S. Lewis has observed, an ideal example of the transition between

poet ry of the 'drab' style and that of the 'Golden'. It is a tribute to Finzi's tenacity as a collector, and enthusiasm as a reader, that Breton's work is joined by that of George

Gascoigne and John Lyly in marking this development. The former's poetry is in J. W.

Cunliffe's two volume edition (Cambridge University Press 1907-(0) whilst the latter'S

xi

complete works are edited by R. W. Bond (Oxford, Clarendon 1902). Thought to be by the same author

we also have Queen Elizabeth's entertainment at Mitcham, which was published for the Yale

Elizabethan Club by Yale University Press in 1953. Unlike that of Breton, Southwell's style is very varied

and provides a more difficult task for the literary historian. In its more gnomic utterance it looks back to

the 'drab', whilst other aspects of his work prefigure eighteenth century poetry. His work is most

interesting though as an example of early metaphysical poetry, and in its contribution to the baroque

Anglo-Catholic tradition, which together with the more didactic tradition of Quarles, Sylvester, and

Greville, provides the religious poetic context for Millon's work.

Although Finzi held no firm doctrinal Christian beliefs he did compose church music and his interest in religion is manifest throughout his library. All the best known figures of the Anglo-Catholic

tradition, Donne, Giles and Phineas Fletcher, Herbert, Vaughan and Crashaw are represented as are

Quarles, Greville and Sylvester of the more puritanical school. The latter is best known for his translation

of Du Bartas' Divine Weeks which was one of Milton's favourite volumes. Finzi owned seventeenth

century editions of both this and of Quarles' Divine Poems; the former being the 1641 edition printed by

Robert Young and the latter being Marriot's 1642 edition. Finzi's collection of Quarles' work is also

distinguished by several nineteenth century editions; Emblems Divine and Moral together with the

Hieroglyphics of the Life of Man (Lansdown, Bristol 1808), Enchiridion (Baldwyn 1822) and The

School of the Heart (Reynolds 1816). The popularity of Quarles' emblems was with the more educated

reading public anxious for moral instruction of the most sober kind, whilst the ballad tradition continuing

from its roots in Old and Middle English, and not without its own less immediately sombre moral

implications, remained tbe most popular source of reading material for the less elevated members of

society. As might be expected from my earlier remarks, Finzi's collect jon of such work in anthologies is

particularly impressive, covering the whole period from 1500-1660. Two editions of the Roxburghe

Ballads are included, that edited by Ebsworth and Chappell publisbed by Taylor and Co. 1871-99 and the

1873-4 edition edited by Hindley and published by Reeves and Turner. Other noteworthy volumes of this

kind include the Collection of Black-Letter Ballads and Broadsides printed in the reign of Queen

Elizabeth between 1559 and 1597, published by Lilly in 1870, the Pepys Bal/ads in eight volumes edited

by Hyder Rollins (Harvard U. P. 1929-32), and Cavalier and Puritan, which contains ballads and

broadsides from the period of the great rebellion 1640-1660, edited also by Rollins (New York U. P.

1923).

Originally the pieces collected in these volumes would have been inseparable Irom their musical

accompaniment, but such songs only represent one extreme in the enormous range of musical composition

in this period. At thc other extreme we have ecclesiastical and secular polyphony, and in between lie the

more self-consciously composed 'songs' which were so important to twentieth century English composers

such as Finzi and Vaughan Williams, who wanted to continue the tradition. As Professor Mellors

remarks, the great age of ELizabethan music roughly coincides with the life of William Byrd (1543-1623)

and this was also the 'Golden Age' of Elizabethan poetry. It was a time when for most composers words

were an integral consideration and it was not thought either particularly difficult or unusual to set poems.

Like Finzi, Byrd and Morley viewed poetry and music as mutually enhancing rather than mutually

exclusive. No wonder then that the poets of the 'Golden' period are fully represented in Finzi's library.

The well-known names like Chapman, Sidney, Spenser, Daniel, Campion, Jonson and, of course,

Shakespeare are fully represented, as are more minor figures like William Browne of Tavistock (The

Poems ed. G. Goodwin, Lawrence and Bullen 1894) or Richard Barnfield whose poems are re-presented

by a limited edition published by the Fortune Press in 1936. Other poets of this

xii

period like Drayton and Raleigh oscillate stylistically between 'drab' and 'Golden' but both had very

considerable talent. There are few more deservedly well-known sonnets from this period than Drayton's

'Since there's no help', or lines more intense yet gently devotional than Raleigh's which begin 'Give me my

scallop shell of quiet'. Certainly both these poems and others from both authors rise above the work of

earlier 'drab' writers like Alexander Barclay and Thomas Howell whose work also appears in the Finzi

collection. Not all poetry of this time however was lyrical. The humanistic passion of the Renaissance led

authors to revive all ancient kinds including formal satire. Donne's satires are the most famous but we also

have those of Lodge, Joseph Hall, Tourneur and Marston. We also have satiric epigrams such as those of

John Weever contained in Epigrammes ill the Oldest ClII and Newest Fashion, 1599 (Shakespeare Head Press 1922) or Sir

John Davies' which may be found in his Complete Poems (ed. Grosart, Chatto and Windus J

876). It will be noticed that amongst the poets so far mentioned there are several famous also for

their prose and drama. Just as this was the great period of English song when music and words

were habitually thought of in conjunction, so it was the great age too of verse-drama. Inevitably

we begin with Shakespeare. Finzi had the twenty-nine volume set of the works edited by Quiller-

Couch and J. Dover Wilson for Cambridge University Press, and a reduced facsimile of the First

Folio published by Chatto and Windus in 1876, together with no fewer than sixty secondary

works of criticism and exegesis. Nor was Finzi's collection lacking in works by other dramatists

who besides writing pieces great in themselves provide a further context for thc understanding of

Shakespeare. From the early Tudor period we encounter the works of Lyly, Marlowe, Kyd, Peele,

Lodge, Nashe and the unfortunate Anthony Munday. The latter's work is more of a curiosity than

anything else, and indeed he has been described with some venom as 'a dismal draper of

misplaced literary ambition'! In his possession of the first modern printing of Munday's The

Englisl: Romayne Lyle, we have an example of Finzi's recognition that however minor a work is, it is never entirely lacking in some kind of interest.

Of the slightly later dramatists we have Marston, Toumeur and Webster celebrated for their

revenge plays which deal with political and sexual corruption; we have Chapman and Jonson

with their 'humour comedies' and their political concerns akin to those of Shakespeare, and we

have Massinger, Ford, Heywood, Middleton, Shirley, Dekker, Beaumont and Fletcher, all fine

writers, several of whom were revived by the distinguished criticism of T. S. Eliot.

Renaissance prose has unfortunately not received such strong recommendation and it is

therefore particularly pleasurable to find such a rich selection here. Religion inspired some of the

greatest prose writings of the period amongst which is the work of the early Protestant reformers

here represented by the Remains of Bishop Coverdale published for the Parker Society by

Cambridge University Press in 1846, and Latimer's sermons published by the same society in

1844-5. Of the later Anglican divines we have the sermons of Donne and Jeremy Taylor, whilst

Bunyan, though catalogued in a later period, should be mentioned here in the Puritan interest,

which is also of course represented by Milton's prose writings. The range of Elizabethan secular prose is displayed through the work of Sir Philip Sidney,

Rob Greene, Lyly, Nashe and Thomas Deloney. Lyly's Euphues with its elevated style full of

ornamentation, though not without delicacy and an aerial lightness of touch, gave its title to a

style, the euphuistic, which also covers the work of Greene (Lyly's disciple and rival) and of

Thomas Deloney. All these writers wrote 'novels', though that is perhaps not quite the precise

word, for often narrative surrenders to naked moral discourse, and form is difficult to discern in

these rambling medleys. Pamphleteers provide a more distinct prose form, one in which Thomas

Nashe excelled. He poked fun with humanistic

xiii

indignation at the follies of his age and in so doing anticipated the re-birth of satire in poetry and drama.

Pamphlets by Lyly, Greene, Breton and Dekker may also be found in the Finzi collection. In the

seventeenth century, we not ooly find the expected Anatomy of Melancholy and Jonson's prose,

but also that of Thomas Browne which may be seen as standing at the bead of the tradition

which leads to De Quincey and Ruskin, and works by Selden, Izaak Walton and Aubrey which

prefigure the eighteenth century preoccupation with biography and autobiography.

Aubrey's Brief Lives, in the standard edition of 1898, is catalogued in the section which

takes us from the Restoration to the Romantics (1660-1800), and this, like tbe case of Bunyan,

points to the difficulties inherent in any rigid categorisation. The transition between the

Renaissance and the eighteenth century is made by way of the Caroline poets and the

Restoration dramatists. The former strictly speaking find their natural place in the Renaissance

section as these poets derive their description from the reign of Charles 1 1625-1649, but the

adjective 'Caroline' is extended to post-war poets of Charles Ii's reign. Hence the works of poets

like Carew, Suckling, Lovelace, Randolph, Herrick, Wither and Waller arc catalogued in the Renaissance, whilst those of Rochester, Sedley, Oldham and Colton may be found in the later

category. The Caroline poets were followers of Jonson and his influence resulted in their writing

lyrics which fused clarity with a delicate limpidness. Some of these poets, particularly the earlier

ones, incorporated metaphysical ingenuity into their work, but this was gradualJy displaced as

the tradition developed towards the Augustan satire of Dryden and Pope.

The eighteenth century is often and justifiably described as the age of Reason and Nature,

but as often these words are given too narrow a definition and the view of the century distorted. 'Nature' was not only the philosophic concept underlying that cosmic 'chain of being' given

expression in Pope's Essay 011 Mall, and 'Reason' was not expounded as a truth which denied

passion. Certainly in the satires of Dryden, Pope, Johnson, and Swift, Reason and Nature

provided the standard of shared belief against which all manner of follies were measured and

pilloried, and passion was onJy exhibited in the vigour with which this task was undertaken. But

the other side of Augustan poetry is the pastoral, the meditative, in which emotion is so clearly

evident that sometimes the verse may be accused of sentimentality, and indeed 'sentimentality'

became enough of a fashion for if to be ridiculed in Henry Mackenzie's The Mall of Feeling, Nature in reflective poetry is seen in terms of the poet's delight in the countryside itself whilst it

is also used as the basis for a 'meditative pathos' prefiguring the work of Wordsworth and the

nineteenth century.

Gerald Finzi loved the English countryside hence it is no surprise to find not only the

work of the satirists but also a large and representative collection of Augustan landscape and pastoral poetry in his library. Many of these volumes are in handsome eighteenth and

nineteenth century popular editions, amongst which are fifteen from the Cooke's pocket edition

(1794-1804), eight from Bell's edition of British poets (1777-83) and ten from the later Aldinc

editions (1830-53). The work of all the major figures from Butler to Swift is here and needs

little comment, but one is obliged to notice the first collected edition of Dryden's Comedies.

Tragedies and Operas which was published in 1701 by Tonson. The reflective tradition is represented by Cowper, Anne Finch (The Countess of Winchilsea), Collins, GOldsmith, Gray, Akenside, Thomson and Smart, together with a host of more minor figures like Mallet, Warton, Pomfret and Diaper. The poems of Parnell, Young, and Blair demonstrate the sombre and more melodramatic side of the tradition in their famous graveyard meditations.

Prose in tbe Augustan age saw many developments. It was the great age of the periodical

essay, witnessed the beginnings of the novel as we understand it today, and it gave rise to very

distinguished diaries, memoirs, letters, biographies and autobiographies.

xiv

Finzi's library is rich in all these diverse areas. Swift and Johnson were the greatest exponents of the essay

but besides their work we possess that of Addison and Spence together with the Spectator papers and the

four volume edition of The Adventurer (1778). Turning to the novel we find Fanny Burney (whose work

was one of Jane Austen's satiric targets in Northauger Abbey), Fielding, Smolleu, Defoe, Richardson, and

Sterne. Beckford's Vathek is an example of prose fiction akin to Johnson's Rasselas and Goldsmith's

Vicar 0/ Wakefield, whilst Horace Walpole's Castle of Otranto represents the beginnings of Gothic fiction. More unusual perhaps than these items is the wealth of non-fictional prose in Finzi's collection

which assists us in gaining an imaginative understanding of the eighteenth century. There are the diaries of

John Evelyn (1641-1706), Thomas Campbell (1775), Sylas Neville (1767-88), the incomparable Pepys,

and lastly. ecboing the poems of Cowley and others, the diary of a country parson written in praise of rural

retirement by James Woodforde. Amongst the letters those of Lady Mary Wortley Montagu stand out for

their brilliant depiction of the society in which she moved, whilst those of Dorothy Osborne remain a sad yet

instructive document of the pernicious influence of properly in the age of reason. Her position resembled

that of Clarissa in Richardson'S novel, who opposed her parent's wish to marry against her inclination. The

feminist theme continues in the memoirs of Mary WoLlstonecraft which are distinguisbed even in

comparison with those contained in Boswell's London Journal and Journey to the Hebrides. A

biography of near relations by Roger North, together with the autobiography of Gibbon with its high-flown

prose, of Pepys and of CoUey Cibbcr, the best known actor of his day, repay bibliophile, scholar, and most

importantly the interested layman, in his scrutiny of Finzi's library.

Tn dealing with the eighteenth century I have delayed a discussion of the drama as this is the form least distinguished in the period. Nevertheless all the major genres of Augustan theatre find adequate

representation; the tragedy and heroic tragedy in the works of Dryden, Otway, Lillo, and Rowe, 'humour'

comedy and comedy of manners in Shadwell, Wychcrley, Congreve, Vanbrugh and Sheridan. On the periphery of theatre we have the comic-opera found in the work of Gay, Henry Carey and Bickerstaffe.

So far, from the Old English to the Augustan period we have seen very representative selections of

material covering all the major genres. We have noticed minor poets in abundance but nowhere has that

element of idiosyncracy which I spoke of earlier been as clearly evident as it is in the disposition of books in

the nineteenth and twentieth century collections. If one thinks of nineteenth century English literature one

immediately thinks of the Romantic revolution and of the great Victorian poets and novelists. The closing

decades of the century (despite an increasing amount of interest and scholarship) have been by comparison

ignored, and it is in this area that Finzi's library is particularly strong, as it is in the Georgian period of the

early twentieth century. This is not to say that the Romantics are ignored or mis-represented, but simply

that there is a denser concentration of volumes from the later period.

We have already mentioned Finzi's devotion to Wordsworth so it is no surprise to find thirty-eight

volumes (including a considerable amount of criticism) devoted to that autbor. The other poets of Higb

Romanticism, Keats, Coleridge, Byron, and Shelley are also well represented and there is a particularly

strong collection of Blake (forty volumes). The work of the latter is catalogued in the eighteenth century

but finds its place most naturally here, for in his aesthetic based on a theory of the poetic imagination he

belongs to Romanticism in a way that Akenside and the other poets of the Augustan

reflective mode do not. Besides this dense coverage of the major authors we also find an impressive

selection of work from those minor Romantic poets who are now unfor-tunately so Little read despite some

committed attempts by contemporary poets like John Heath-Stubbs to promote their work. Of these it is

Jobn Clare, the poet closest to Words-

xv

worth, who gains the most attention. The two volume edition of his works edited by TibbIe

(1935) and the Poems of John Clare's Madness edited by Grigson (Routledge 1949) deserve special mention. Clare's letters, prose and biography are here too as are those of that much darker more Germanic poet Beddoes. The poetry of Hood, George Darley, James Hogg, Hartley Coleridge and Landor also grace the collection. One further volume that should be mentioned is William Mann's Rural Employments ill Spring (1825) if only because it is not held by the Britisb Library.

Amongst the well-known names of the early and mid-Victorian period we have the work of Tennyson, Arnold, Robert Browning, and bis wife Elizabeth Barrett. (The latter'S Casa Guidi Windows is in the first edition of 1851, published by Chapman and Hall.) Of the more interesting minor figures WiUiam Barnes should be mentioned. He wrote poems in Dorsetshire dialect and was an influence on Thomas Hardy. W. J. Cory, T. E. Brown and Sydney Dobell, all lyrical poets, none of them profound but occasionally striking, should not be forgotten. The work of Edward Fitzgerald, famous as the chief translator of Omar Khayyam, is present including first editions of his letters, and that delicately contemplative religious poet Aubrey de Vere is represented by a first edition of his Song of Faith (1842).

The greatest Victorian religious poetry though comes from the Jesuit Gerard Manley Hopkins whose style \\ ith its own distinctive music is based on the innovative sprung-rhythm. We have a first edition of his poems together with his letters and papers. Patmore's work with its passionate praise of domesticity and its expression of the Romantic theology of love is also present as is the now rarely read religious poetry of Dolben, Francis Thompson and Alice Meynell.

Doubtless the presence of these authors is to some extent due to the taste of Finzi's

generation. Tbese poets together with figures like W. S. Blunt, Robert Bridges, John

Davidson, Ernest Dowson, A. E. Housman, Trench and Binyon were very much part of the

Literary scene when Finzi was a young man. IL is indicative of the enormous changes of

taste since tbe beginning of the century that of these poets only Housman is now widely

read and even Bridges' reputation is not entirely secure. Through his efforts on behalf of

Hopkins, Bridges ironically cast a shadow over his own work which has remained until

quite recently when critics began tentative revaluations. It is though less surprising to find a large collection of Bridges' work (some thirty

volumes including nine first editions) than other poets' in Finzi's collection, for Bridges was

always deeply involved with music. His association and friendship with Sir Hubert Parry

gave rise to several works notably four odes: Invocation (0 Music 1895, A Song of Darkness and

Light 1898, Eton Memorial Ode 1908, and Chivalry of rile Sea 1916. Bridges also wrote an

oratorio Edell with music by C. V. Stanford 1891, (Finzi has a first edition) and devoted

much study to the singing of hymns. His belief that many popular hymns were dull or

mediocre led him to translate, adapt, and write the Yattendon 11YI/1//(I1which appear-cd in

four parts between 1895 and 1899, edited by Bridges in collaboration with H. Ellis

Woodridge. Besides selling several of Bridges' poems Finzi was actively involved in trying

to publish the fascinating letters between Bridges and Parry. Unfortunately Parry's side of

the correspondence could not be found and publishers remained unwilling to print Bridges'

leiters alone. Again we have an example of Finzi's selfless endeavours on behalf of other

artists and it would be a pity if in the future his work were not brought to fruition and these

leiters dealing with the technical intricacies of combining music and poetry did not find

their fit audience through publication. If the presence of Bridges' work in Finzi's collection is then unsurprising, the opposite

may be said when, in concluding our survey of late Victorian poets, we look at two groups,

who, while differing entirely in poetic genre and quality, share a distance from the main-

xvi

stream of tradition. The works of the parodists and writers of comic-verse like Praed, Aytoun,

Calverley, Dobson and Lang are fully represented, but far more valuable in every way is the

collection of Pre-Raphaelite verse. Twenty-two volumes of Swinburne and twenty-one of Morris

form an impressive nucleus which is supported by ample holdings of Christina and Dante

Gabriel Rossetti, R. W. Dixon, P. B. Marston and the Irish poet William Allingham, Not

precisely a Pre-Raphaelite, but certainly closer to Swinburne than to any of the less 'decadent'

poets is Arthur Symons, whose The Symbolist Movement in Literature has been recognised by

Frank Kermode as a seminal text for the development of modernist aesthetic.

Prose writings of the nineteenth century are covered less evenly than in earlier periods. In

this the great age of the novel we miss the works of Jane Austen, Dickens, George Eliot, tbe

Bronte sisters, Mrs. Gaskell and George Gissing. Tbeir absence is due, at least in part, to the fact

that after early manhood Finzi read few novels; having little time to spare be concentrated almost

exclusively on reading poetry. Despite this we find adequate compensation for the notable

omissions in the presence of works less popular and less accessible. We have, for instance, forty-

two volumes of Meredith including nine first editions, we have all the major works of George

Moore, and fifteen volumes of Richard Jefferies whom Edward Thomas celebrated in a fine

biography. The Romantic essayists, De Quincey, Lamb, Hazlitt and Coleridge are represented as

is the art criticism of the later nineteenth century in the works of Pater, Ruskin, and Morris.

Cardinal Newman, leader of the Oxford Movement and one of the greatest Victorian prose

writers, is represent-ed by his Apologia Pro Vita Sua, and turning to political topics we have a

fine selection of Cobbett's works, among which are a first edition of Cobbett's Tour in Scotland

(1833) and the three volume definitive edition of Rural Rides (Peter Davies 1930).

A large collection of books (forty-three volumes) is devoted to another socialist writer,

George Bernard Shaw. All his major dramatic and prose writings are here including first editions

of nine works. The nineteenth century was by no means a great period for drama, and with Shaw

the works of Oscar Wilde and J. M. Barrie represent the best theatre of the Victorian age.

Just as the work of Shaw extends well into the twentieth century so with two other major

authors we have not mentioned yel. Yeats and Hardy straddle the centuries and both recall the

earlier nineteenth century in some aspects of their work, and prefigure modernism in others.

Predictably Finzi's interest in Hardy is reflected in a large holding of his works together with

much secondary material. The Wessex edition of 1919-31 is augmented by early editions of

several lesser known pieces like The Famous Tragedy of the Queen of Cornwall (1923), Our

exploits at West Poley (1952) and a facsimile of The Three Wayfarers in a limited edition (1944).

Although the Yeats collection is not quite so large it too has some impressive volumes. Amongst

the first editions we have those of Four Plays for Dancers (1921), A full moon in March (1935),

Later Poems (1922), Wheels and Butterflies (1934) and The Winding Stair and Other Poems

(1933). Also interesting for the Yeats enthusiast is a copy of the magazine The ArrolV Vol. 1 no.

4, edited by Yeats, together with the 'Yeats' commemorative edition of the same magazine

(1939). The twentieth century has by far the largest number of volumes and like the nine-teenth

century collection the prose and drama holdings arc very uneven, whilst the poetry although

almost comprehensive is weighted heavily towards Georgian verse and the tradi-tion which

derives from it. The grandiloquent title 'Georgian' was coined by Sir Edward Marsh who edited

the five volumes of Georgian Poetry (1911-12, 1913-15, 1916-17, 1918-19, and 1920-22)

published by Harold Monro from the Poetry Bookshop. As Robert Ross shows the adjective was

applied in 1912 to mean 'new', 'modern', 'energetic' but by 1922 had come to connote everything

opposite to this. In its inception Georgian poetry

xvii

was intent on breaking free from the outworn diction of Victorian poetry epitomised by Tennyson, and to

gain for poetry a new audience. In this ambition the Georgians pre-figured a perennial concern of later

poets, but unlike these the Georgians were surprisingly successful. Each anthology was reprinted, the early

ones several times, their sales rivalled only by those of Rupert Brooke's Poems (1911) which by 1932

had sold 100,000 copies and Masefield's Collected Poems of 1923 which by 1930 had sold an

equal number. Despite the efforts of scholars like Ross to defend all that is best in Georgian poetry, the

adjective still carries with it a weight of censure and dismissal barely paralleled in English

literary history, and those poets like Graves, D. H. Lawrence, Rosenberg, Blunden and Sassoon,

whose reputations are deservedly secure, tend to be dissociated from the Georgian movement

although all of them were published in the anthologies. Concentrating on a deliberately 'low'

style in an attempt to re-vitalise poetry as Wordsworth had done, much Georgian poetry has its

roots in the English countryside, delighting as Blundcn said, in the kind of beauty that was of

'Flora and the country green'. Homely virtues arc cele-brated and strains of the Victorian

celebration of domesticity may be clearly heard, if modulated through a somewhat more modern

diction. For the most part metres were traditional and the poetry cosy, although Brooke created

an outrage by writing indelicately of sea-sickness and Bottomley occasionally indulged himself

in the gratuitously grotesque. The latter examples are less the rule than the exception and in the

pre-war years the delibe-rate simplicity of description and sentiment found its audience. The

slow demise of Georgian poetry began with war-time disillusion in about 1916. After the

holocaust with its immense political and cultural repercussions Georgian poetry was too far

removed from the majority's experience of reality to continue in popularity. The war completed

the urbanisation and industrialisation which had been going on for more than a century. The

poetry of Eliot incorporated this landscape in a way that nobody had done before. Avant Garde

European movements like Futurism which in their inception were pre-war began to gain a

foothold in England. Slowly modernism arrived leaving the Georgian poets as the bastion of

Conservatism and a tradition which was outmoded. Poets continued to write in a 'Georgian' way

for a long lime, even in the 1940s its influence may be clearly discerned in poets like Laurence

Whistler, Leonard Clark or Frances Cornford, but by then other styles had made Georgianism

into a literary backwater.

It it too easy to undervalue the Georgian poets in comparison to the achievement of Eliot

and his followers. At its best the Georgian mode gave rise to some fine lyrics and the movement

as a whole is quite essential to a proper understanding of the poetry of the First War. For all its

much vaunted 'realism' the work of Sassoon, Owen, Rosenberg and Blunden, remains

conditioned by Georgian language and form. We must not forget either that contemporary poets

like Larkin and R. S. Thomas owe more to Georgianism than they do to Eliot or Pound. Of the

forty poets who appeared in the Georgian an-thologies, thirty-five are represented in Finzi's

library and of the omissions only Rosenberg's work is serious. There are a staggering 450

volumes devoted to those poets who are there, many of which are first editions, with particularly

impressive collections of Masefield (81 volumes), Blunden (63 volumes, many of them signed

by the author), W. H. Davies (37 volumes), Walter de la Mare (48 volumes), Sassoon (23

volumes), Graves (31 volumes) and Drinkwater (25 volumes). Not all of these books are of

poetry, for aU the authors mentioned wrote in other forms and Sassoon, Graves and Blunden are

equally celebrated as prose writers. It is important too that we remember that aU these writers

went on working well after 1930.

Sassoon, Graves and Blunden have a reputation too in terms of war literature, and there is

no lack of material by other celebrated writers of the First World War. Wilfred Owen, Ivor

Gurney, Charles Sorley, David Jones and Edward Thomas are fully represented.

xviii

The latter is often associated with Georgian poetry though his work never appeared in the anthologies. In

his delight in rural life and landscape Thomas does resemble the Georgians but at his best has a clarity and

muscularity, a depth of psychological and emotional penetration which goes beyond all but the best of their

work. Though Finzi's twentieth century collection is dominated by Georgian poetry the

work of Eliot is represented as is that of bis followers in later generations. Eliot's poetry with its intellectual

vigour, emotional subtlety, dislocation and self-conscious adoption of urban imagery did not particularly

appeal to Finzi's taste, nevertheless most of the poetry and poetic-drama is here, including first editions of

The Family Reunion (1939), Four Quartets (1944), The Cocktail Party (1950), and The

Confidential Clerk(1954). Auden, the first of a younger generation to see Eliot as a great

harbinger of a distinctly 'modern' poetry, is also present. In the late 1920s he adopted Eliot's

vaunted 'Classicism' as a tenet of good poetry. The word is highly misleading with respect to

both poets and simply indicates a poetic practice which seeks a spare, elliptical utterance

eschewing aU redundant connectives and epithets. This is hardly enough to crush the essentially

Romantic impulse to forge wholeness from disintegration, which underlies the work of both

poets. Auden's name rightly or wrongly is inseparable from that of poets like Day-Lewis,

Spender, MacNcice and John Lehmann who were all to one extent or another his disciples. All

responded to the economic depression and international turbulence of the 1930s by trying to

write a more public poetry, that was at least in their own minds socialist if not Marxist. To a

reader looking back, tbe poems, when separated from the mythology that the poets themselves

helped to create, seem only an expression of middle-class guilt and of confused ideology. Auden

often sounds more like a radical Tory than a Marxist, whilst Spender and Lehmann are liberal

and obviously Romantic. Day-Lewis in his The Magnetic Mountain is the most overtly political

and left-wing just as he is the most naive. MacNeice is the least pretentious and most common-

sensical of these writers, his healthy scepticism helping him as it helped Orwell to escape the

sentimentalities, confusions and dishonesties of the others. At the close of the thirties Auden

openly, and Spender and Day-Lewis tacitly, admitted that it had been a 'low dishonest decade'

and subsumed their politics in other concerns.

The work of all these poets may be found in the Fiozi room together witb that of John

Cornford and Julian Bell, who were both killed fighting for the Republican cause in Spain, and

more serious communists like Edgell Rickword and Hugh MacDiarmid. Finzi, though, would not

let politics intrude on his commitment to poetry and it is a strength of the collection that the unfashionable works of Roy Campbell may be found here in abun-dance. Campbell was a right-

wing Roman Catholic who, besides elegant lyrics, wrote vitriolic satire in an Augustan manner.

However distasteful his faith in, and support for, Franco must seem to us, that did not blind Finzi

to the qualities of his best writing. Politics as Connolly anticipated were to some extent 'in abeyance' in the poetry of the

19405. Little critical attention has been paid to this decade as yet and the common idea of it as a

period of decadent Nee-Romanticism is as much a myth as the common view of the thirties. Both

decades though share a concern for audience, and one of the most interesting features of the

poetry of both decades is the way in which poet.s attempted to modify a predominantly private,

and sometimes esoteric, tradition to cope with public events. As well as the continuing work of

Auden et al. there was much poetry of a very high quality indeed written during the forties.

Finzi's library is so rich in this material that it is only possible to mention very briefly a few names. Keith Douglas and Sidney Keyes arguably the two greatest losses to English poetry of the Second War are here, together with such various talents as Terence Tiller, Alan Rook, F.T.

Prince, Henry Treece, Kathleen Raine, Anne Ridler, Alun Lewis, John Heath-Stubbs, Drummond

Allison,

xix

•

Martyn Skinner and Vernon Watkins. Several of these poets are still writing and thanks to co-operation

between Joy Finzi and the University Library work since 1956 (when Gerald Finzi died) has been added

to the collection. Publications by poets of later genera-tions have been similarly purchased bence we have

work by Dannie Abse, Sylvia Plath, Ted Hughes, Geoffrey Hill and several others.

Against this wealth of poetry it is easy to lose sight of the prose and dramatic writings of tbe

twentieth century collection. Altbough far less comprehensive and less evenly distributed the major

novelists are all represented. Wc have some work by D. H. Lawrence, Wyndham Lewis, Katherine

Mansfield, Sean 0' Casey, Christopher Isherwood and a wider selection of Virginia Woolf, T. E.

Lawrence, E. M. Forster and James Joyce, Minor figures include Chesterton, Hilaire Belloc and Adrian

Bell, Unfortunatcly drama must be dealt with in a similarly cursory fashion for space will not allow elaboration. Further indication is found in

this area that the more heavily intellectual aspects of modernism were not to Finzi's taste. Just as the works

of Ezra Pound are ignored so we find only one work by Samuel Beckett. Eliot's verse drama we have

already mentioned and some of the experimental drama of Auden and Isherwood may also be found.

Otherwise we have two volumes of Pinter'S plays and various pieces by minor playwrights such as James

Bridie and Clifford Bax.

Closing my remarks I am inevitably aware of the ultimate impossibility of communi-cating a full

sense of the riches in Gerald Finzi's library. Because it is pre-eminently' English' in character I have not

mentioned the few American writers represented or had space to describe the considerable collection of

translations from the Classics and European litera-ture. AU I can do is recommend those to the reader's

attention. Similarly it has not been possible to mention all the first or limited editions here or the presses

represented. Neverthe-less I have attempted to give some impression of the catholicity of the collection

and a balanced view of its many strengths and few weaknesses. The Finzi Book Room should not be

thought of as either a collector's library or that of a scholar. As Mrs. Finzi remarked to me, these books

were very personally 'opened'. Many of them contain press cuttings of interesting articles and reviews;

others, such as the Collected Poems of Hardy, have their index marked in pencil showing Finzi's

considerations as to which pieces he would set. It is then pre-eminently a working library and

with its seclusion, its airy spaciousness, and the original furnishings from Finzi's library at

Ashmansworth, it en-capsulates a moment of history whilst retaining a personality that creates

an ideal atmos-phere for reading and study. It is to be hoped that this room will become an

appropriate memorial to Finzi's life and work, by users who share his own enthusiasm for, and

dedi-cation to, the arts of poetry and music.

Adrian Caesar December 1979

THE ARRANGEMENT OF THE CATALOGUE

THE BOOKS in the Finn Book Room are arranged on the shelves in a roughly chronological order

and so a chronological arrangement has been adopted for the catalogue. After sections of general

critical studies and anthologies there are five main sections which follow the periods used by the

New Cambridge Bibliography of English Literature: the Anglo-Saxon and Middle English period

(To 1500); the Renaissance to the Restoration (1500-1660); the Restoration to the Romantics

(1660-1800); the Nineteenth Century (1800-1900); the Twentieth Century (1900-).

For each period the critical studies and anthologies are followed by a section devoted to

individual authors arranged alphabetically, with the books about a particular author listed after

works by him. The allocation of authors who fall into more than one period is according to the

New Cambridge Bibliography which means, for example, that W. B. Yeats and O. B. Shaw are

to be found in the Nineteenth Century section. There is an index of poets at the end.

Place of publication is London unless otherwise stated and the number of volumes is given

where there is more than one. The University Library is adding books to the Finn Book Room to fill gaps in the

collection and to augment those areas in which it is already strong. The catalogue includes

additions up to 31 July 1980.

ACKNOWLEDGEMENTS

My GREATEST DEBT is to Joy Finzi without whom there would be no Finzi Book Room at

Reading University Library. Since presenting the books in 1974 she has shown a continuing

lively interest in the arrangement of the collection, the use of the room and the production of the

catalogue.

I should like to thank Adrian Caesar for writing the introduction and Professor Ian

Fletcher of the English Department for his assistance.

James Thompson, the University librarian, readily agreed to publish this catalogue and

has given me every encouragement and advice in its preparation.

I am grateful to Michael Mitchell who designed the catalogue and supervised its printing.

Finally I should like to thank my colleagues in the library, especially Michael Bott & David Knott for their practical help and two former members of staff, Blanche Parker, who

typed the original catalogue cards, and Chris Beckett, who photo-copied them all.

xxi

THE CATALOGUE

GENERAL HISTORIES AND STUDIES

AOERCROMDlE,LASCELLES An essay towards a theory of art. Martin Seeker,

1922 The theory of poetry. Martin Seeker, 1924

AROER,EDWARD An English gamer: ingatherings from our history and literature. v.l. E. Arber,

1877 BAGEHOT,WALTER Literary studies. Ed. Richard Holt Hutton. 3v. Longmans, Green, 1905 BATESON,FREDERlCKNOELWILSE The Cambridge bibliography of English literature. 4v. Cambridge

U.P.,1940

BAYFIELD,M. A. The measure of the poets: a

new system of English prosody. Cambridge U.P., 1919 BENNETT,ARNOLD Literary taste: how to form it. with detailed instructions for collecting a complete

library of English literature. Ed. Frank Swinnerton. Penguin Books, 1938 (Pelican special, SII)

BENTLEY,PHYLLISELEANOR The English regional novel. George Allen & Unwin, 1941 (P.E.N.

books)

BIRKETT,NORMANBIRKETT,BARON The lise and abuse of reading. Cambridge U .P., 1951

(National book league eighth annual lecture)

BLUNOEN,EDMUNDCHARLES Addresses on general subjects connected with English literature.

Tokyo, Kenkyusha, 1949

Chaucer to 'B. V. 'with an additional paper on Herman Melville. Tokyo, Kenkyusha, 1950

Favourite studies in English literature. Tokyo, Hokuseido Press, 1950 (Keio university special

publication)

Lectures in English literature. Tokyo, Kodokwan, 1952

Nature in English literature. Hogarth Press, 1929 (Hogarth lectures on literature series, no. 9)

Romantic poetry and the fine arts. (From the Proceedings of the British Academy, v.28)

Humphrey Milford, 1942 (Warton lecture on English poetry)

Shakespeare to Hardy: short studies of characteristic English authors. Tokyo, Kenkyusha,

1950

SOllie 1V0menwriters: three lectures. (From the Essays and studies, v.l, no. I, September 1950) Tokyo, Tokyo Woman's Christian College, 1950

BLUNOEN,EDMUNDCHARLES,and NISHIZAKI, ICHlRO Adventures among books: first selection. Tokyo, Hokuseido Press, [1950]

BOLTZ,CeCILLEONARD Crown to mend: a leiter on poetry. Hamish Hamilton, 1945 BowRA, SIR CECILMAURICI'! From Virgil to Milton. Macmillan, 1945

The heritage of symbolism. Macmillan, 1943 Inspiration and poetry. Macmillan, 1955

Inspiration & poetry: the Rede lecture 1951. Cambridge U.P., 1951

BRADLI'!Y,ANDREWCECIL Poetry for poetry's sake: an inaugural lecture. Oxford, Clarendon

Press, 1901

BREWER,EOENEZI!RCOOHAM Dictionary of phrase and fable: giving the derivation, source, or origin of common phrases, allusions, and words that have a tale to tell. Cassell, [191-]

BRIDIE,JAMES The British drama. Glasgow, Craig & Wilson, [1945] (The British way, 12)

BROOKl!,RUPERTCHAWNER Democracy and the arts. Rupert Hart-Davis, 1946

BROOKl!,STOPFORDAUGUSTUS English literature from A.D. 670 to A.D. 1832. Macmillan, 1905

(Literature primers) BROWNING,DAVIDCLAYTON Everyman's dictionary of quotations and proverbs. J. M. Dent, 1951

(Everyman's reference library)

BULLETT,GERALDWILLIAM The English mystics. Michael Joseph, 1950

Bus", DOUGLAS English poetry: the main currents from Chaucer to the present. Methuen, 1952

(Home study books)

The Cambridge history of English literature. Ed. Sir A. W. Ward and A. R Waller. 15v. Cam-bridge

U.P., 1932

CARTER,JOHN WAYNFLI!TE,and POLLARD,GRAHAM The firm of Charles Duley, Landon & Co.:

footnote to all enquiry. Rupert Hart-Davis, 1948

CASC, ARTHUR ELLICOTT A bibliography of English poetical miscellanies, 1521-1750. Oxford,

Printed for the Bibliographical Society at the University Press, 1935 (for 1929) CECIL,

LORDDAVID Poets and story-tellers: a book oj critical essays. Constable, 1949 Cl:IAMBERS,Srn

EDMUND KERCHEVER The Englishfolk-play. Oxford, Clarendon Press, 1933 A sheaf of studies. Oxford U.P., 1942

CHAMBERS, RAY'MONDWILSON Man's unconquerable mind: studies oj English writers, from Bede to

A. E. Housman and W. P. Ker. Jonathan Cape, 1939 Poets and their critics: Langland and Milton. (From the Proceedings of the British Academy. v.27)

Humphrey Milford. 1941 (Warton lecture on English poetry)

CH~mERS, ROBERT History oj the English language and literature. 4th ed. Edinburgh, William and Robert Chambers, 1837 (Chambers's educational course)

Chambers's biographical dictionary: the Great oj all times and nations. Ed. D. Patrick and F. H. Groome. W. & R. Chambers, [1921]

CH~IPION, SELWYN GURNEY Racial proverbs: a selection oj the world's proverbs arranged

linguist-

ically. George Routledge, 1938 CHILD, HAROLD Essays ond reflections. Ed. S. C. Roberts. Cambridge U.P., 1948

CIBBER,TUEOPHILUS The liliesof the poets. 5v. R. Griffiths, 1753 CLuTTON-BnoCK, ARTHUR Essays 011 art. 2nd cd. Methuen, 1920

The ultimate belief Constable, 1928 (Constable's miscellany) COLLINGWOOD, ROBIN GEORGE Outlines oj a philosophy oj art.

Oxford U.P., 1925 (World's manuals)

COMPTON-RICKETT, ARTHUR A history oj English literature. T. C. & E. C. Jack, [1912) (The

people's books)

A history of English literature. T. C. & E. C. Jack, 1918 CoUSIN, JOHN WILLIAM Biographical dictionary oj English literature. J. M. Dent, 1942 (Every-man's

library)

CRAiG, EDWARD GORDON On the art oj the theatre. William Heinemann, 1924

CROSLAND,THOMASWILLIAM HODGSON The English sonnet. Martin Secker,1917

CUNNINGHAM, ALLAN Biographical and critical history oj the British literature of the last fiJty years.

Paris, Baudry's Foreign Library, 1834 DAvrES, HUGH SYKES The poets and their critics: Chaucer to Collins. Penguin Books, 1943

(pelican books, A 79)

DEARMER,PERCY Art and religion. Student Christian Movement, 1924

A dictionary oj dates. J. M. Dent, 1940 (Everyman's library)

DISRAELl, iSAAC Amenities oj literature: consisting of sketches and characters of English literature. Ed. B. Disraeli Frederick Warne, 1867

The calamities and quarrels oj authors: with some inquiries respecting their moral and literary

characters. Ed. B. Disraeli. Routledge, Warne, and Routledge, 1865 The literary character; or, The history oj men oj genius. Ed. B. Disraeli, Routledge, Warne, and

Routledge, 1862

DIXON, WIl..I..JAMMACNEILE An apologyfor the arts. Edward Arnold, 1944 DOBRE!!,BONAMY The broken cistern: the Clark lectures 1952-53. Cohen & West, 1954

The unacknowledged legislator: conversation 01/ literature and politics ill a wardens' post, 1941. George Allen & Unwin, 1942 (P.E.N. books)

DRJNKWATER,JOHN English poetry: an unfiulshed history.

Methuen, 1938 The lyric: all essay. Martin Seeker, 1922 Limited cd. of 1000 copies Patriotism in literature. Williams and Norgate, 1924 (Home university library of modern

knowledge)

The poet and communication. Watts, J 923 (Conway memorial lecture) Prose papers. Elkin Mathews, 1917

DUNCAN, EDMONOSTOUNE The story oj minstrelsy, Walter Scott Publishing Co., 1907 (Music story

series)

DYSON, HENRY VICTOR DYSON, and BUTT, JOIU'I EVERETT Augustans and romantics, 1689-

1830. Cresset Press, 1940 (Introductions to English literature, v.3)

EDWARDES,MARJAN, and SPENCE, LEWIS A dictionary of non-classical mythology. J. M. Dent,

1923 (Everyman's library)

EKWALI.., BROR OSCAR EILERT The concise Oxford dictionary oj English place-names. Oxford,

2

Clarendon Press, 1936 ELIOT, THOMAS STEARNS After strange gods: a primer of

modern heresy. Faber and Faber, 1934 NOles towards the definition of culture. Faber and Faber, 1948 The use of poetry and the use of criticism: studies in the relation of criticism to poetry ill England.

Faber and Faber, 1933 (1937 reprint) What is a classic? an address delivered before the Virgil society all the 16th of October

/944. Faber & Faber, 1945

ELTON, OLIVER The English muse: a sketch. O. Bell, 1933

Essays and addresses. Edward Arnold, 1939

A survey of English literature. 1730-1780. 2v. Edward Arnold, 1928

A survey of English literature, 1780-1830. 2v. Edward Arnold, 1924

A survey of English literature. 1830-1880. 2v. Edward Arnold, J927

ENTWISTLE, WILLIAM JAMES, and GILLETT, ERIC The literature of England, A.D. 500-/942.

Longmans, Green, 1943

EVANS, SIR BENJAMIN IrOR A shaft history of Ellglish literature. Penguin Books, 1940 (1944

reprint) Pelican( books, A 72)

Tradition and romanticism : studies ill Engiisl, poetry [rom Chaucer to W. B. Yeats. Methuen,

1940

FAUSSET, HUGH ['ANSON Poets and pundits: essays and addresses. Jonathan Cape, 1947

FLOWER, DESMOND JOHN NEWMAN The pursuit of poetry: a book of letters about poetry written by

English poets 1550-/930. Cassell, 1939 FORSTER. EDWARD MORGAN Aspects of the novel. Edward Arnold, 1927 (1941 reprint)

GRANVILLE-BARKER, HARLEY 011 poetry ill drama. Sidgwick & Jackson, 1937 (Romanes lecture 1937)

Sidgwick & Jackson, 1917

Rococo. Vale by ballot, Farewell to the theatre. The use of the drama. Sidgwick & Jackson, 1946

GRAVES, ROOEJtT The COIIIIIIOl1 asphodel: collected essays all poetry. /922-1949. Hamish Hamilton, 1949

011 English poetry. William Heinemann, 1922 GRAY, AUSTIN KAYINGHAM A dictionary of synonyms. T. C. & E. C. Jack, (1912) (The people's books)

GIUllRSON, SIR 1-1 tlROERTJOHN CLIFFORD The background 0/ English literature. classical & romantic,

and other collected essays & addresses. 2nd ed. Chatto and Windus, 1934

Criticism and creation: essays and addresses. Chauo and Wind us, 1949

Rhetoric and English composition. Edinburgh, Oliver and Boyd, 1944 GRIllRSON, SIR HEROERTJOI-INCLIFfORD. and SMITH, JAMES CRUICKSHANK A critical history of

English poetry. Chatto & Windus, 1944

GRIGSON, GllOFFRI!Y EDWARD HARVEY The harp of Aeolus and other essays 011 art literature and

nat lire. Routledge, 1947 [i.e. 1948) The 111/1/(: a miscellany of liter at lire. art and criticism. Routledge,

1946 HALLIWELL, JAMES ORCHARD A dictionary of archaic and provincial words, obsolete phrases. proverbs.

and ancient customs.from the fourteenth century. 3rd ed. 2v. Thomas and William Boone,

1855

HAMILTON, SIR GEORGI! ROSTRI!VOR Poetry & coniemplation : (/ new preface to poetics. Cambridge

U.P.,1.937

HARDING, ROSAMOND EVI!LYN MARY An anatomy of inspiration. 2nd ed. Cambridge, W. Helfer.

1942

survey. J.

HARRIS, LANCE S. The nature of English poetry: all elementary M. Dent, [1931 (1933

reprint) ) & Jackson,

HARRISON, JANE ELLEN Alpha and omega. Sidgwick 1915

Ancient art and rttual. Thornton Butterworth, 1918 (1927 reprint) (Home university library of modern knowledge)

HA WORnl, PETER English hymns and ballads. (111(/ other studies in pop 11101'literature. Oxford, Basil

Blackwell, 1927 HAZUTT, WILLIAM CARfiW English proverbs and proverbial phrases. 2nd cd. Reeves and Turner,

1882

3

HENDERSON, THOMAS FINLAYSON Scot/ish vernacular literature: a succinct

history. 3rd ed. Edinburgh, Jobn Grant, 1910

Catnach Press.

H1NDLEY,CHARLES The history 0/ the Charles Hindley, 1887

HlNE, REGINALD LESLIE 771e cream 0/ curiosity: being all account 0/ certain historical and literary manuscripts of the XVI/th, XVlJlth and XIXth centuries. George Routledge, 1920

HUXLEY, ALDOUSLEONARD Literature and science. Chatto & Windus, 1963 JACKSON,HOLBROOK The reading ofbooks. Faber and Faber, 1946

JONES, PERCY MANSELL Tradition and barbarism: a surrey 0/ anti-romanticism ill France. Faber & Faber, 1930

Fashion ill literature: a study 0/ changing

KELLETT, ERNESTEDWARD taste. George Routledge, 1931 Literary quotation and allusion. Cambridge, W. Hefler, 1933

Reconsiderattons: literary essays. Cambridge U.P., 1928 Suggestions: literary essays. Cambridge U.P., 1923

The whirligig 0/ taste. Hogarth Press, 1929 (Hogarth lectures on literature series, no. 8) KNIGHT, GEORGEWILSON The starlit dome: studies ill the poetry of vision, Oxford U.P., 1941

LAMBORN, EDMUND ARNOI.D GREENING The rudiments 0/ criticism. 2nd cd. Oxford, Clarendon Press, 1925

0/ Ellglish literature/rom

LANG, ANDltEW History 'Beowulf t toSwinburne. Longmans, Green, 1912

LEWIS, CECIL DAY ElljOyillg poetry: a reader's guide. Cambridge U.P., for the National Book League, 1947 (Reader's guides)

A hope/or poetry. 2nd ed. Oxford, Basil Blackwell, 1935 The poetic image: the Clark lectures given at Cambridge ill /946. Jonathan Cape, 1947

Poetry for you: a book for boys and girls on the enjoyment 0/ poetry. Oxford, Basil Blackwell, 1944 (1945 reprint)

LUBBOCK,PERCY The craft of'fictlon. Jonathan Cape, 1926 (Travellers'library) LUCAS, FRANK LAURENCE Critical thoughts in critical days. George Allen & Unwin, 1942 (P.E.N.

books) Literature and psychology. Cassell, 1951 Studies French and English. Cassell, 1934

MACCARTHY, BRIDGETG. Women writers: their contribution to the English novel, 1621-1744. Cork, Cork

U.P., 1945

MACCARTHY, SIR DESMOND Drama. Putnam, 1940 Humanities. Macgibbon & Kee, 1953 Memories. Macgibbon & Kee, 1953

MACLEISIi, ARClllllALD Poetry and experience. Bodley Head, 1961

MAHOOD, MOLLY M. Poetry and humanism. Jonathan Cape, 1950

MARRIOTT,JAMESWILLIAM The theatre. Newed. George G.Harrap, 1945

MAsEAELD, JOliN With the living voice: all address given at the first general meeting 0/ The Scottish associatton for the speaking 0/ verse, 24th October, /924. [William Heinemann, 1925]

MEYNELL,VIOLA, ED. Friends 0/ a lifetime: leiters to Sydlley Carlyle Cockerell. Jonathan Cape, 1940 The best of'[rtendstfurther letters to Sydney Carlyle Cockerell. Rupert Hart-Davis, 1956

MOORlII!AD, J. K., and LEE, CllARLES A dictionary 0/ quotations from authors old and /lew. together with {IllAlphabet of proverbs, 2v. in I. J. M. Dent, [1935J (Everyman's library)

MORGAN, ClIARLES LANGBRIDGE Liberties of the mind. Macmillan, 1951 MORTIMER, RAYMOND Channel packet. Hogarth Press, 1942 (1943 reprint)

MUIR, EDWIN The structure 0/ the novel. Hogarth Press, 1928 (1938 reprint) (Hogarth lectures on literature series, no. 6)

MUIR, WILLA Living with ballads. Hogarth Press, 1965 MURRY, JOHN MIDDLETON Aspects of literature. Jonathan Cape, 1934 (Travellers'library)

Countries 0/ the mind: essays in literary criticism. W. Collins, 1922 (1924 reprint) Countries 0/ the mind: essays in literary criticism. lSI and Znd series. Oxford U.P., 1937

(Oxford bookshelf)

Discoveries. Jonathan Cape, 1930 (Travellers'library) The evolution 0/011intellectual, Jonathan Cape, 1927 (Travellers' library) Heaven - and earth. jonathan Cape, 1938

The problem of style. Oxford U.P., 1922 (1935 reprint)

4

Things to come: essays. Jonathan Cape, 1938 Cape, 1924

To the unknown God: essays towards a religion. Jonathan

The necessity a/art. By A. CI.utton Brock [etc.]. Student Christian Movement, 1924 NICOLL, A.LLARDYCE The English theatre: a short history. Thomas Nelson, 1936 NOBLE,JAMESASHCROFT The sonnet ill England & other essays. Elkin Mathews, 1893 ORWELL,GEORGE Critical essays. Seeker and Warburg, 1946

The Pelican guide to English literature. v.I-3. Penguin Books, 1954-6

PONSONBY,ARTHUR PONSONBY,BARON English diaries: (/ review 0/ English diaries/rom the sixteenth to the twentieth century with (/II introduction on diary writing. Methuen, 1923

More English diaries tfurther reviews 0/ diaries from the sixteenth to the nineteenth century with all

introduction 011 diary reading, Methuen, 1927 Methuen, 1927 Scottish and Irish diaries tfrom the sixteenth fa the nineteenth century.

POWYS,JOHNCOWPER The meaning 0/ culture. Jonathan Cape, 1936 (Travellers'{ibrary) RAINE,KATHLEENJESSIIl Defending ancient springs. Oxford U.P., 1967

READ, SIR HERBERTEDWARD A coat 0/ many colours: occasional essays. George Routledge, 1945 Collected essays ill literary criticism. Faber and Faber, 1938 Ellglishprose style. G. Bell, 1942 Form illmodern poetry. Sheed & Ward, 1932 (Essays in order, no. II) Phases 0/ Ellglish poetry. Hogarth Press, 1928 (Hogarth lectures on Literature series, no.7) The philosophy 0/ anarchism. Freedom Press Distributors, 1940 No. 458 of limited cd. of

500 copies

The politics 0/ the unpolitical. Routledge, 1943 REID, PORRF..sT The milk ofparadise: some thoughts 011 poetry. Faber and Faber, 1946

REID, J. M. Modern Scottish literature. Edinburgh, Saltire Society, 1945 (Saltire pamphlets, no. 5)

RICHMOND,WILLIAMKENNETH Poetry and the people. Routledge, 1947

RIDLEY,MAURIC!!Roy Poetry and the ordinary reader. O. Bell, 1930

ROBI3RTSON,JOSEPH Lives 0/ Scottish poets. By the Society of ancient Scots. 3v. T. Boys, 1821-2 (Lives of eminent Scotsmen, v.I-3)

ROWSE,ALrR!!D LESLI!! The English past: evocations 0/ persons and places. Macmillan, 1951 The English spirit: essays ill history and literature. Macmillan, 1944

ROYALSOCIIITYor LITERATURE. ACADIlMICCOMMJ'n'EG Addresses of reception, 2v.

Oxford U.P., 1914-15

RVLANDS,G130RG13HUMPJoIREVWOLrESTAN Words and poetry. Hogarth Press, 1928

SADLEIR,MICNA!!L Things past. Constable, 1944

SAINTSBURY,G!!ORGEEDWARDBATGMAN Historical JI/(IIII/al0/ English prosody. Macmillan, 1930

A short history 0/ English literature. Macmillan, 1913 (1937 reprint) SAMPSON,GEORGE The concise Cambridge history 0/ English literature. Cambridge U.P, 1941

Seven essays. Cambridge U.P., 1947 SASSOON,SIEGrRIED 011 poetry. Bristol, University of Bristol, 1939 (Arthur Skernp memorial

lecture)

SAURAT,DENIS Literature and occult tradition : studies ill philosophical poetry. G. Bell, 1930

SCOTT-JAMES,ROLrE ARNOLD The making of literature : some principles 0/ criticism examined ill the light 0/ ancient and modem theory. Martin Seckel', 1930

SMITH, FRANK SEYMOUR An English library: all annotated list 0/ 1300 classics. National Book Council, 1943

SPEIRS, JOHN The Scots literary tradition ..(III essay ill criticism. Chatto & Windus, 1940 SPENDER,STEPHEN Life and the poet. Seeker & Warburg, 1942 (Searchlight books) STEWART,JEAN Poetry ill France and Engkmd. Hogarth Press, 1931 (Hogarth ecturesl on

literature series, no. 15)

THOMS, WILLIAM JOHN Anecdotes and traditions illustrative 0/ early English history and literature. Camden Society, 1839

TIDDY, REGINALDJmlN ELLIOTT The Mummers' play. Oxford, Clarendon Press, 1923

TILLOTSON,GEOFFREY Essays ill criticism and research. Cambridge U.P., 1942

TILLYARD, EUSTACEMANDEVILLEWETENHAlL Tile English epic and its background. Chatto

and Windus,1954

5

Five poems, 1470-1870: all elementary essay on the background of English literature. Chatto & Wiodus,

1948

Poetry direct and oblique. Chauo & Wind us, 1934 Poetry direct and oblique. Rev. ed. Chatto & Windus, 1945

TREVELYAN, GEORGE MACAULAY A layman's love of leiters: being the

Clark lectures delivered (I( Cambridge, October - November 1953. Loogmans, Green, 1954

TURNER, WALTER JAMES REDFERN Impressions of English literature. William Collins, 1944

(Britain in pictures)

UNWIN, RAYNER The rural muse: studies ill the peasant

poetry of England. George Allen and Unwin, 1954

Foundations of English prose.

W ARO, ALFRED CHARLES G. Bell, 1931

Illustrated history of English literature. 3v. Longmans, Green, 1953-5

WAIT, LAUCHLAN MACLEAN Scottish life and poetry. James Nisbet, 1912

WELBY, TliO~IAS EARLS A popular history of English poetry. Methuen, 1933 WEST, RBDECCA The strange necessity : essays and reviews. Jonathan Cape, 1928

WILLEY, BASIL The 'Q' tradition : all inaugural lecture. Cambridge U.P., 1946 WILLY, MARGARI!T Life was their cry. Evans Brothers, 1950

Seeker & Warburg, WILSON, EDMUND The wound and the bow: seven studies ill literature. Martin [1942]

Sound and meaning in English poetry.

WILSON, KATHARINEMARGARI!T Jonathan Cape, 1930

WOLFE, HUMBERT NOles 011 English verse sa/ire. Hogarth Press, 1929 Hogarth( lectures on literature

series, no. 10)

WOOLF, VIRGINIA The Captain'S death bed and other essays. Hogarth Press, 1950

The common reader. Uniform cd. Hogarth Press, 1929 1933( reprint)

The common reader. Second series. Uniform ed. Hogarth Press, 1935

The death of the moth and other essays. Hogarth Press, 1942

A leiter to a young poet, Hogarth Press, 1932 Hogarth( letters, no. 8)

The moment and other essays. Hogarth Press, 1947 Reviewing, Hogarth Press, 1939 (Hogarth sixpenny pamphlets, 00. 4)

A room of one 's 01\111. Uniform ed. Hogarth Press, 1931 (1935 reprint)

WYKES, ALAN A concise survey of American literature. Arthur Barker, 1955

YOUNG, GeORGE MALCOLM Daylight and champaign : essays. Jonathan Cape, 1937

6

GENERAL ANTHOLOGIES

After lea: a nursery anthology. Benn, [1926] (Augustan books of English poetry, 2nd ser.) Alan Parsons' book: a story ill anthology. Ed. by his wife [Viola Tree]. William Heinemann, 1937 The Albatross book of living verse: English and American poetry from the thirteenth century fa the

present day. Ed. Louis Untermeyer. William Collins, 1933 AI/ illa maze: a collection of prose and verse. Ed. Daniel George. Collins, 1938 AI/ things new: an anthology. Ed. Leonard Clark. Constable Young Books, 1965 A lpliabetical order: a gallimaufry, Ed. Daniel George. Jonathan Cape, 1949 Ancient and modern Scottish songs, heroic baltads. etc. Ed. David Herd. 2v. Glasgow, Kerr &

Richardson, 1869 Ancient ballads and songs of the North of Scotland. Ed. Peter Buchan. 2v. Edinburgh, William Paterson,

1875

Ancient English Christmas carols, 1400-1700. Ed. Edith Rickert. Chauo & Wiodus, 1910 (Ne